8c John Anold
C O N T E N T S
Acknowledgements iv
Forew ord v
G E N E R A L I N T R O D U C T I O N v i i
Introduction to Students ix
T each er’s H andling Notes x
I N T R O D U C T O R Y S E C T I O N Choosing the R ight Language
S E C T I O N O N E M eeting People 1
P art O n e : Greetings and introductions 1 Part T w o : Personal interests 6
Part T h re e : Likes and dislikes 10
I N T E R S E C T I O N A Moods and Feelings 18
Part O n e : Moods 18
Part T w o : Congratulations, regrets, reacting to news 21
S E C T I O N T W O Plans and Choices 25
P art O n e : Social plans 25 Part Tw o: Invitations 27 Part T hree A : Suggestions 32
P art Three B : Alternative suggestions 35 P art Four: Choice and preference 38
I N T E R S E C T I O N S Apologising and Com plaining 47
Part O n e : Apologies and excuses 47
Part T w o : Apologising for changing future plans 49 Part T h re e : Criticism 51
Part F o u r: Complaints 54
S E C T I O N T H R E E O pinionating 57
Part O n e : Opinions 57 Part T w o : Clarification 61
Part T h re e : Attack and response 64 P art F o u r: Suggesting courses of action 71
I N T E R S E C T I O N C Linking Signals in Speech 81
Part O n e : Changing the subject, reinforcement, interrupting, balancing arguments P art T w o : M aking a point more accurate, illustrating a point, M aking sure th at you
have understood correctly 84
S E C T I O N F O U R H elp 87
Part O ne A : Advice 87 Part O ne B : Taking advice 90 P art Two A : Offers 93
Part Two B : Unwillingness and indifference 96
B ooklet: Language C harts and K ey (in back cover)
xvii
81 Mantesh
A C K N O W L E D G E M E N T S
T here are a num ber of people who we would like to thank for their help in the w riting and revising of this book. In particular we would like to thank the principal and teachers of Eurocentre Bournem outh, especially R ay Bell, Peter Lucantoni and Roger Scott. We would like to record our gratitude as well to the num erous students whose comments were invaluable. T o the teachers and friends who helped us w ith some of the recording sessions, m any thanks. T hroughout the w riting of this course w£ have been helped im m easurably by Leila K eane of the Longm an Resource and Developm ent U nit, and w ithout the num erous typings and retypings by H eather W oodley and M ary Parsa this book ju st would not have been possible.
T.P.H.H. Bournem outh and Southam pton
F O R E W O R D
Like its com panion volume Advanced Writing Skills, the present book focusses on
the needs of the learner at the advanced level. A t this level, gram m atical
accuracy alone is simply not enough for successful com m unication, particularly in speech.
Advanced Speaking Skills takes as its keynote the concept of appropriateness - the choice o f language according to such factors as to whom one is speaking, the moods of the speakers, etc. T he book thus opens up to the advanced learner the opportunity of better reflecting his own attitudes and reacting to those of others. T he accom panying tape, as well as providing intonation models, is designed to help the learner become better aw are o f the nuances of attitude which are an ever-present feature of com m unication.
T he book is designed so th at - after com pleting the Introductory Section — the
individual parts can be taken in any order, with no need to work through the
whole book, or even whole sections, in a linear way. As each p a rt is self-
contained moving from controlled through to free and individual production of appropriate language the book can serve also as excellent supplem entary
m aterial to m ore traditional advanced course books.
As w ith previous E urocentre publications - this being the eleventh in the series - the m aterial has been thoroughly tested in the classroom, and we believe th at this book can add a valuable dimension of reality to the teaching and learning of English by adults at the advanced level.
Erh. J . C. W aespi,
Director o f the Foundation fo r European Language and
G E N E R A L I N T R O D U C T I O N
a d v a n c e d s p e a k i n g s k i l l s, like its com panion course a d v a n c e d w r i t i n g
s k i l l s, is concerned with w hat we w ant to do w ith the lan g u ag e; for example, to
advise. Giving Advice is a language function. T here are various ways in which we
can give advice in English, e.g. I f I were you, I ’d . . ., Personally, I think your best course would be to . . . etc. T he way we choose to say som ething will depend on our
attitude to the person or people who we are speaking to. A m ain concern of this
course is appropriateness, th at is the choice o f a way of saying something which
expresses our attitude appropriately, i.e. showing th at we are being <(polite>, <[informal)>, <[tentative]> and so on.
T he course
T he course is designed for students who have either passed the C am bridge First Certificate exam ination or successfully com pleted an equivalent course of study. By the end of the course, successful students should be able to use the language
presented to express themselves appropriately according to the social (or other)
situation they are in. Such students will be in a position to take the O ral p aper of the C am bridge Certificate of Proficiency after further training in the specific techniques necessary for th at p a rt of the exam ination.
C O N T E N T S O F T H E C O U R S E T he course contains:
An Introductory Section Four Sections
T hree Intersections
A booklet containing L anguage C harts and a Key An A ccom panying T ape or Cassette
S E C T I O N S
In addition to the Introductory Section, there are four m ajor Sections in this course. Each Section concerns itself w ith a large area of language activity. Each Section is divided into Parts, which look at a m ore specific language area. For
example, Section Four is entitled h e l p, because it concerns the language we use
to help others with problems, or to ask for help w hen we have problems
ourselves. T he two parts o f Section Four are (1) Asking fo r and Giving Advice and (2) Offers. In P art O ne we look at the language we use when advice is needed, and in Part Tw o we look at the language we use when we wish to offer to help
someone. W hen we look at Offers we see th at there is a L anguage Interaction.
W e can expect th at if someone states th at they have a problem we m ay Offer
Help or Show Willingness. T he person w ith a problem will then probably either
Accept our Offer, Ask us to Do Something or Reject our Offer. We can represent these possible interactions in the following w a y :
We can say th at it is likely th at a conversation will follow one of these lines.
I N T E R S E C T I O N S
T here are three Intersections in the course, whose design differs, in some respects, from th at of the Sections. We have seen (above) th at Sections are concerned w ith situations in which we can predict w hat lines a conversation is likely to follow. As it is often very difficult to do th at w ith language, the
Intersections look at areas which do not necessarily form the basis for
predictable language interactions — for example, it is very difficult to predict w hat will happen when someone wishes to interrupt. Nevertheless, the language in the Intersections is grouped functionally so th at Intersection C, for example, is called l i n k i n g s i g n a l s i n s p e e c h and deals w ith the functions of
Interrupting, Changing the Subject, etc.
L A Y O U T O F T H E C O U R S E
i n t r o d u c t o r y s e c t i o n
This presents the concepts of attitude and appropriateness, introduces a cast of characters, and explains the form at of the book.
S E C T I O N S A N D I N T E R S E C T I O N S
Each P art of each Section or Intersection will contain some or all of the following:
a) Language Presentation, which includes:
A D iagram m atic R epresentation o f the Language Interaction M odel Conversations
Language C harts (in the booklet in the back cover)
b) Controlled Practice, which includes: M anipulation Drills
Cast Conversations Faded Dialogues
c) Situational Practice, which includes: Interaction W riting
Practice Situations Free Practice Dialogue W riting
In addition each Section contains:
d) Role Simulation e) Extensive Listening T H E T A P E O R C A S S E T T E This contains: M odel Conversations M anipulation Drills Extensive Listening D E S IG N O F T H E C O U R S E
T he course is designed in such a way th at it is not necessary to move through the book in a linear way, th at is from the beginning to the end. Each Section and Intersection is divided into Parts w hich practise certain small areas of language. Each P art m ay therefore be studied at any point during a course, and the class need not necessarily follow the sequence in the book. It m ust be emphasised, however, th at the Parts of a Section or Intersection com plem ent each other. Each Role Sim ulation, and the Extensive Listening, is based upon the language from the whole Section of which they are a part.
T he following publications have been particularly useful in the preparation of this b o o k :
Leech, G. and Svartvik, J ., A Communicative Grammar o f English, Longm an 1975.
Wilkins, D. A., Linguistics in Language Teaching, E dw ard Arnold, 1972.
Wilkins, D. A., Notional Syllabuses, Oxford University Press 1975.
V an Ek, J ., The Threshold Level, Council for C ultural Co-operation, Council of
Europe 1975.
In troduction to students
This book is designed for students who have passed the C am bridge First
Certificate exam ination or who have done a course to about the same level. T he aim o f the book is to help you to converse fluently and appropriately in English. You should know w hat kind of language to use in certain situations. Do you use the same language w ith a friend as you do w ith a complete stranger? Probably not, and it is the aim of this book to show you when to use certain types of language, and how to use them.
It is absolutely essential that you should study the Introductory Section (pages xvii—xxii)
before starting the course. It explains how we choose the language we use, and it
also explains how the course works. I f you do not understand anything in the Introductory Section you should ask your teacher.
S E C T IO N S A N D I N T E R S E C T I O N S
T he course is divided into four m ain Sections and three Intersections. Each Section and Intersection contains more than one Part. Each P art contains:
Language Presentation - designed to show you how the language works (in a diagram and in a M odel Conversation) and the appropriate language to use
(in a ch art which appears in the booklet in the back cover).
Controlled Practice - designed to give you practice in the language from the c h a r t: the practice here is very controlled so th at you can become fluent in using the forms (the gram m ar) of the language.
Situational Practice - designed to give you less controlled practice. H ere you will be asked to imagine yourself in various situations, and you will have to choose the most appropriate language to use.
In addition, each Section contains:
Role Simulation - designed to give you further practice in the language from the Section. You will be asked to take part, with the rest of the class, in a realistic situation in which you will need to use the language th at you have studied.
Extensive Listening - designed to enable you to hear conversations in which English people are using the same area of language th at has been covered in the Section.
T H E T A P E O R C A S S E T T E This contains:
Model Conversations - recordings of the conversations at the beginning of each P art of each Section or Intersection.
Manipulation Drills - giving you the correct answers to the M anipulation Drills in each Part. These answers can be used as models for pronunciation practice.
Extensive Listening — designed to give you examples of English people using the language which you are studying.
T each er’s handling notes
I N T R O D U C T I O N
T he m ain aims of this book are to increase the students’ oral comm unicative ability, and to enable the students to choose ways of saying things which are appropriate to different situations. T h e m ajority of the practice is designed to enable the students to learn how to be more, or less, polite in using the
functional language they are studying. It isfor this reason that the Introductory Section (pages xvii-xxii) is so important, since it sets out not only the design o f the course, but also
the different categories o f language that are used in the course. O nce the students have clearly grasped the concept o f Attitude they will be able to proceed with the m ain body of the course.
T he language and the language functions in the course will not seem unfam iliar to m any of the students for whom this course is designed. It should be impressed on them , therefore, th at the aim o f the course is for them to be able to produce the language accurately and fluently, and th at they should have the ability to vary the ways they perform a certain language function appropriately according to the situation they find themselves in.
As has already been stated in the G eneral Introduction, the course is designed in such a way as to give the teacher flexibility: it is not designed so th at a teacher
necessarily has to start at Section O ne and end at Section Four. Indeed this type of linear approach m ight well be counter-productive. T he individual Parts of the Sections and Intersections can be studied in isolation. In other words, where a class is non-intensive, it w ould be possible to complete the m aterial of one P art in two and a h alf hours of a week. Since each Part ends with some form of Free Practice, the completion o f a P art would be a realistic objective for both teacher and students.
H A N D L IN G N O T E S
(Teachers need not necessarily follow the order in which the various exercises and practices occur. A diagram showing two possible schemes of presentation and practice occurs at the end of these H andling Notes on pages xiv-xv.)
[a] l a n g u a g e p r e s e n t a t i o n
1 Interactions
Students’ attention should be draw n to the different directions in which a conversation could go.
2 Model Conversations (on tape or cassette, or from the book)
Students should be asked to identify the language th at the characters use to perform their p a rt of the language interaction (see 1 above).
3 Language Items
T he students should look a t the charts (in the booklet in the back cover), and the teacher should point out any areas of p articu lar gram m atical difficulty, for exam ple in the question could you give me some advice about. . .
students frequently om it the word about. Special attention should therefore
be draw n to it. H eavily stressed words should also be pointed out (they will be underlined), for exam ple Fm not particularly keen on . . .
[b] c o n t r o l l e d p r a c t i c e
1 Manipulation Drills
These should be done w ith the whole class. T he students should be able to see the Charts, and the teacher should follow the usual techniques o f Choral
and/or Individual Repetition. Teachers should not be afraid to do the same sentence more th an once. I t is at this stage th at the teacher can concentrate especially on the correctness of the form and the stress and intonation. Teachers fortunate enough to have class tape recorders will find the
accom panying tape or cassette particularly useful here. O n the tape, there is a pause before the correct m odel is given so th at the M anipulation Drills can be used as laboratory m aterial, or the teacher can conduct these drills with the use of a tape recorder.
2 Cast Conversations
This exercise is especially useful as preparatory homework, but it can also be used as pair work or w ith the whole class. H ere the students have to
make decisions about the Attitude the speakers would take up and the
teacher should ask them to justify their choice, since in some cases it will not be possible to say th at one of the characters could use only, for example,
(tentative') language.
3 Faded Dialogues (Intersections only)
It is suggested th at these can be done with the whole class.
[c] S I T U A T I O N A L P R A C T I C E 1 Interaction Writing
This exercise has been designed w ith pair work (or small-group work) in mind. Students can work through the items, and then they can write one or more of the short dialogues. At this stage they should be encouraged to operate w ithout reference to the C harts unless they really have to. They
should make sure th a t they are expressing the appropriate Attitude. The
dialogues can be acted out in class. This exercise could also be set as a small homework task.
2 Practice Situations
These have been designed for pair work or group work, but can equally well be used w ith the whole class.
3 Dialogue Writing
This exercise has been designed especially for homework, since dialogue writing of this length m ay require a lot of time if done in the classroom. A useful m arking technique is to place a tick in the m argin of the student’s homework w hen he uses language from the P art or the Section
appropriately.
4 Situational Responses (Intersections only)
I t is suggested th at these should be done with the whole class. W here students are hoping, eventually, to attem p t the Cam bridge Certificate of Proficiency it can be pointed out th at these Situational Responses are very similar to those occurring in th at exam ination.
5 Free Practice
T he Free Practice phases in the course take a variety of different forms. T hey m ay involve the whole class or groups o f students. H ere (and in the
Role Simulations) it will be necessary for the students to prepare, and be prepared, for the practice. It is suggested th at the teacher’s usual insistence on correctness m ight be waived here, since the objective is for the student to produce the language from the P art freely. In terruption, in the form of correction, m ight im pede this autonom y. T here will, however, be some cases where a teacher will feel obliged to interrupt, b u t this should be the exception rath er than the rule. In some cases it m ay be necessary for the teacher to be a discussion leader, or at least to prom pt the students. A list of mistakes can be m ade by the teacher and this list can be referred to after the Free Practice phase is finished.
6 Flashback Dialogues (Intersections only)
These are best used as p air work or as homework. Students m ight be encouraged to act out the dialogues before or after w riting them.
[d ] r o l e s i m u l a t i o n
T he Role Simulations have two m ain purposes: to give the opportunity for students to practise the language which they have studied in the course and, in a wider context, to provide enjoyable general language practice. In the unreal world of the classroom, it is not in fact unrealistic to ask students to take roles which are probably outside their personal experience. T he roles given are defined in such a way th a t each student knows w hat he or she will have to contribute to the activity. A t no time are students required to do things which dem and really specialised knowledge. Willingness to participate and contribute (and not an ability to act) is the m ain quality required of students in the Role Simulations.
It will be the teacher’s responsibility to prepare the class for the Role
Sim ulation. H e should explain this situation thoroughly to the students and be sure th a t they understand it fully before he assigns roles. In most cases the students should prepare, either in or outside the class. For exam ple in Section T hree, at the end of P art T hree, there is a Role Sim ulation in which an im aginary town council is trying to decide betw een three rival plans. T he teacher should explain the situation and then p ut the students into groups favouring one plan or another. In the case of those whose roles commit them to a particular plan, the group should plan argum ents in favour of their plan and against the others. In the case of those who are, as yet, uncom m itted, the group should prepare argum ents against the three plans an d /o r argum ents in favour of the plan they support an d /o r argum ents in favour of a plan they themselves dream up. W hen it comes to the actual Role Sim ulation, the
teacher m ay have to take the p art of the chairm an, so th at he or she can be in control of the situation and can help to ensure th at all the students are given a chance to join in. However, if a student can perform this role successfully, all the better. T he Role Simulations can be particularly useful and m otivating if they are recorded, either with a video or with a tape recorder. In this way the students can see how well they perform and w hat progress they are making.
[e] e x t e n s i v e l i s t e n i n g
T he purpose of these listening passages is to enable students to hear the
language they have studied in the wider context o f authentic English - th at is in conversations in which real English people are not restricted in any way in their use of the language. It is suggested th at these passages are particularly useful as back-up and revision m aterial.
For each Extensive Listening phase there are three types of comprehension
question: General Comprehension simply ensures th at the students have
understood w hat has been sa id ; Language in Context picks out vocabulary,
phrases and idioms which have wide application. Reading between the Lines (a
euphemism for inferring feelings and attitudes) asks the students to make inferences about the speakers’ attitudes. These True/False questions are designed as discussion points; more im portant than w hether a student thinks the answer is true or false are his or her reasons for so thinking. O ften these reasons will depend on the items o f language th at are used, so th at the questions focus attention, yet again, on the language from the Section to which the Listening Phase relates. These Listening Phases are designed for classroom use, but they can equally well be used in the Language L aboratory, and, since there are suggested answers to all the questions in the Key, they can be used by the student working alone.
t h e t a p e o r c a s s e t t e
In addition to the Extensive Listening, the taped m aterial contains the M odel Conversations and the M anipulation Drills. T he M odel Conversations can be used either to introduce the Function th at is to be studied, or to exemplify the Interactions that occur at the beginning of each Part.
T he M anipulation Drills provide correct models of the language exponents in the Charts, and as such can be used either by the teacher or by the class as pronunciation models or as laboratory m aterial (see [b] 1 ) .
S C H E M E S F O R P R E S E N T A T I O N A N D P R A C T I C E
T he following diagram s show two different models for the order of the various exercises and practices.
Interactions Model Conversations Language Items
Interaction Writing Cast Conversations <3- Manipulation Drills
Practice Situations -&> Free Practice -fc> Role Simulation
♦
Extensive Listening* 43-
J
* T h e Extensive Listening taped m aterial with its accom panying exercises has been designed for use when a Section has been studied by the class. H owever, some teachers m ay prefer to preface work on a Section with some or all o f an Extensive Listening phase.
b) I f the students show a fam iliarity with the gram m atical forms of the language exponents the following order m ight be adopted by the te a c h e r:
Obviously it will be up to the teacher to decide how m any of the exercises to do, and in w hat order. Sometimes, for example, it m ight be interesting to study the Cast Conversations and then go back to the M anipulation Drills, or even to study the Cast Conversations and then go back to the Language Presentation phase. G enerally, however, the Role Simulations and Dialogue W riting phases should occur at the end of a teaching unit.
I N T R O D U C T O R Y S E C T I O N C H O O S I N G T H E R I G H T L A N G U A G E
A ttitude
In English, as in most other languages, we can say the same thing in a num ber of ways.
T he language we choose will depend on some or all of the following th in g s: T he relationship we have with the people we are talking to ;
(e.g. w hether they are close friends, strangers, people in authority, etc.) T he situation we are i n ;
(at a friend’s party, at an official reception, etc.) T he mood we are i n ;
(angry, happy, nervous, etc.)
T he mood of the people we are talking t o ;
( We will probably be especially careful when talking to a friend who is in a bad mood.)
W hat we are talking a b o u t;
( We will be more careful in our choice o f words i f we want to complain to a friend about his I her behaviour than we would i f we were offering him I her a drink.)
It is im portant to choose appropriate ways of saying things according to the
situation we are in. In m any situations it will be appropriate to use <normal/ neutral} language and you will find the language items which fall into this
category at the beginning of each language chart. Such items have no labels printed
after them in the charts.
In other situations, it is necessary to use language items which are appropriate to special situations. In this course, a num ber of different labels are used to indicate the attitude which particular language items show. H ere is a list of the various labels and w hat they m ean in this course.
Tentative) : This means ‘unsure’ and we use (tentative'} lan g u ag e:
a) w hen we are genuinely unsure of our facts or of how we feel,
e.g. I t’s very kind o f you to invite me, but I ’m not sure i f I can come.
b) w hen we w ant to give the impression of being unsure in order to be tactful
and diplom atic. For example, if we w ant to disagree with a superior, it
would probably be too strong to say I can’t agree with you and it would be
more appropriate to be <(tentative> and say I ’m not sure i f I ’d agree withyou.
<(D irect}: <(Direct) language is the opposite of <(tentative} language; it gives the impression th at the speaker is very sure. This impression is appropriate if, for example, we w ant to agree with someone, b ut it can sound presum ptuous and
rude in a great m any situations and would be inappropriate in such situations
(P o lite ): W e use polite) language when we w ant to sound particularly (polite'}
w ithout being (tentative).
( Formal >: <Formal) language creates the impression of social distance between people. It occurs mostly in ‘official’ situations e.g. business meetings, official receptions.
(Informal) : (Inform al) language is used between friends, mainly. It is generally
inappropriate to use it with anyone else.
(Strong) : (Strong) language has a strong sense of conviction. It usually sounds very direct.
(B lu n t) : (B lu n t) language is very frank indeed. I t should be used with extreme care, as in most situations it will simply sound rude.
S U M M A R Y
In most situations we use (normal/neutral) language but sometimes, because of
the situation we are in or the people we are talking to, we use special language. In the language charts in this course you will find th at the language items are m arked in such a way as to tell you w hen the language can be used. T he type of language we use shows our a t t i t u d e.
Language presentation and practice
1 L A N G U A G E IT E M S
See C hart 1 on page 1 of the booklet in the back cover.
2 P R A C T IC E ® *
In the questions below you must d ecid e:
i) the attitude you would wish to convey (tentative, form al) etc.
ii) the language (from C hart 1 in the booklet) th at you would actually use.
1 You are on a train and you w ant the window opened. You ask an elderly gentlem an sitting near the window to open it, but you are not sure if he will like the idea.
a) (normal) b) (polite) c) (tentative) You use ) ,, r a) (ratherjormal) e) (direct)
f ) (direct and informal)^
You say _____________________
language
* You will find suggested answers to all the exercises marked ( K ) , in the K e y in the booklet in the back (
You w ant your cigarettes, which are on a chair near your friend. You ask him /her to give them to you.
You use You say a) (normal) b) (polite) c) ( tentative) d) ( ratherformal) e) ( direct)
f ) ( direct and informal]>
language
A friend of yours has ju st phoned to say th at he/she is coming to see you tom orrow evening. This is not very convenient for you, so although you know your friend will be disappointed, you ask him /her to come the day after. You use You say a) ( normal]> b) (polite) c) ( tentative) d) (ratherformal) e) ( direct)
f ) ( direct and informal)
language
4 You are the personal secretary to the m anager of a large company.
Someone has ju st phoned to speak to the m anager, b ut he is in a meeting. You ask the caller to phone back in an hour.
You use You say a) ( normal) b) (polite) c) ( tentative) d) <ratherformal> ^ (direct)
f ) (direct and informal)
5 You are in a restaurant and there is no ashtray. You ask the w aiter to get you one. a) (normal) You use You say b) (polite) c) (tentative) d) (ratherformal) e) (direct)
f ) (direct and informal)
T H E C A S T
N A N C Y C R O M E R Age 50
D onald’s wife and the d aughter of an arm y officer. She m et D onald when she was twenty-two. They have two sons and a daughter; the elder son is an accountant and the other two are at university. Since her m arriage N ancy has devoted herself to her family.
She is a rath er nervous person.
S U S A N G R E Y Age 21
Susan lives in the flat above D onald and N ancy Cromer. After leaving school at the age of 16 she joined the local newspaper as a secretary. She was soon helping on the w om en’s page, and last year she became a news reporter. She has a very outgoing personality.
T hroughout the course you will m eet the following six people. You should pay special attention to their characters, social position, and the social situations in which they find themselves since these will influence w hat language they use and how other people talk to them.
T hroughout the course there will be practices called c a s t c o n v e r s a t i o n s in
which you will be asked to select the right kind of language (normal, tentative,
direct> etc. for the characters to use. This is T he Cast.
D O N A L D C R O M E R Age 53 T he eldest of five children, he went to gram m ar school and university and later became a solicitor. H e spends a lot of time in meetings with his clients, who are.often businessmen. H e has fairly traditional views and is by n ature a quiet person.
C A R O L A N D E R S O N Age 24 Carol shares a flat with Susan and is a teacher at the local secondary school. She is a rath er serious person, who takes a lot of interest in her students.
D A V ID S T U A R T Age 23 D avid is C arol’s boyfriend. H e is a rath er unsuccessful professional m usician who writes and sings his own songs. H e has m ade one L.P. b ut is not well known yet. He is rath er shy.
G R A H A M W IL L IA M S Age 28 G raham is a barm an at the ‘H ope & A nchor’, a large pub which has a folk club every T hursday evening. H e left school when he was fifteen and has done a variety of jobs since then. He has become friendly w ith David Stuart, who sometimes plays in the ‘H ope & A nchor’. H e is by nature rath er aggressive.
3 C A S T C O N V E R S A T IO N S
O B J E C T I V E
T o select appropriate language.
Use appropriate language from C hart 1 ‘Asking Someone to Do Som ething’ in the following situations, and be prepared to justify your answers.
a) Susan has ordered two books from the bookshop which is near C arol’s
school. She asks Carol to pick them up on her way home from work. Susan says________________________________________________________
b) D onald Crom er phones one of his colleagues to ask him to come to a
m eeting in his office at 11.00 the next day.
D onald says_______________________________________________________
c) David Stuart did not have time to go to the bank today. In the pub he asks
G raham Williams to lend him £5.00.
David says________________________________________________________
d) Susan Grey and Carol Anderson are listening to some records. In the flat
below, N ancy Crom er can hear the gram ophone, and because she has got a headache, she goes to the girls’ flat and asks them to turn the music down.
Nancy says________________________________________________________
e) Carol Anderson is writing the end of term science exam, bu t she is very
busy so she needs some help. She asks the Principal of the school if she will help her, even though Carol knows she is very busy at the moment.
Carol says_________________________________________________________
f ) At the newspaper office Susan’s secretary is going to the cafe across the
road to get some sandwiches. Susan wants a ham sandwich and a cup of coffee and calls out to her secretary ju st as she is leaving the office.
Section 1
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P A R T O N E G R E E T I N G S A N D I N T R O D U C T I O N S a |Language presentation
1 I N T E R A C T IO N S 2 M O D E L C O N V E R S A T IO N S ® *a) Susan Grey is ju st going into the local town hall, when she meets
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b) T he m eeting is being organised by Jo h n Canford of ‘Environm ental
Survival’.
I. Good evening. Mr Cromer. I'm so pleased you coulacom e. i Let w e ta k e your coat. .
"V ( 2 . Thank y o u .^
3. OK.. Professor B a te s, m ay I — >. ( introduce Mr Donald Cromer. Mr Cromer J \ __ ^ is a solicitor in th e town. __ J
c) At the m eeting, Susan Grey is surprised to meet an old colleague.
t Hello, Susan,
' 2. Well... if it isn’t
Jack Langley. Are you covering t h e s to r y too? . Who for ? y
The Mirror.'
* 4 . 'The Mirror? Well you have
gon e up in t h e world, h a v e n ’t you L ast t i m e I h e a r d , you w ere s'—\ w ith t h e "Essex Post', r f
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d) Susan Grey wants to interview Professor Bates.
I. Professor 5 a tc s . good evening My n am e’s S u san Grey- I'm with S. t h e local newspaper. y
\ ( 3. Do you mind if I ask you \ one or tw o questions? 4. N ot a t all
Fire away!
3 L A N G U A G E IT E M S
See C harts 2-9 on pages 1-2 of the booklet in the back cover.
B
Controlled practice
1 A T T I T U D E D R IL LO B J E C T I V E
T o practise the language from C harts 2 -9 using appropriate language.
M ake the following conversations in which you m eet people.
a) i You greet your friend Michael.
2 M ichael answers your greeting.
b) i You greet a businessman, M r T horne, who you have never met
before. 2 M r T horne answers your greeting.
c) i You m eet a colleague, K atie Firth, unexpectedly.
2 K atie Firth answers your greeting.
d) i You introduce your colleague, M r Smith, to a visiting businessman,
M r Holt. 2 M r Sm ith greets M r Holt.
e) i You introduce yourself to a small group at a party.
2 M em bers of the group answer the introduction.
f ) i You introduce your friend Ja c k to your friend Gloria.
2 Ja c k greets Gloria.
g) i You m eet your friend Pauline unexpectedly.
/MEETING
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2 C A S T C O N V E R S A T IO N S
O B J E C T I V E
To select appropriate language.
Use appropriate language from C harts 2-9 in the following situations and be prepared to justify your answers. (W here necessary, refer back to T he Cast in the Introductory Section (pages xx-xxi.)
Susan Grey and Carol Anderson are having a party in their flat.
a) David Stuart arrives with G raham Williams.
Susan says___________________________________________________ _ D avid answ ers__________________________________________________
h) David introduces G raham to Susan.
David says______________________________________________________ Susan answ ers____________________________________________________
c) G raham sees Carol, who he already knows through David.
G raham says_____________________________________________________ Carol answers _____________________________________________________
d) M r Wood, the editor o f Susan’s newspaper, arrives with his wife. Carol,
who does not know M r W ood, opens the door.
M r Wood says ______ __________________________________________ _
Carol answers _________ _________________ ___________________ _____
e) Susan comes to the door and greets M r W ood, who introduces his wife.
Susans says_______________________________________________________ M r W ood answ ers_____________________________________________ ___ Susan says________________________________________________________ M rs W ood answ ers________________________________________________
f ) At the party Paul W ood sees D onald Cromer, who he has been friendly
with for a long time, but who he did not expect to meet there.
M r Wood says____________________________________________________ M r Crom er answers___________________________________________ _
Situational practice
1 I N T E R A C T I O N W R I T I N G
O B J E C T I V E
T o select and use appropriate language in given situations, w ithout reference to
the Charts.
In the following situations make short conversations paying particular
attention to the use of appropriate language. (WThere necessary, refer back to
/MEETING
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a) You are with your friend, M ary, in a cafe. A nother friend o f yours, Mike,
comes in. H e and M ary do not know each other.
b) A t a business lunch, you introduce Susan Grey to Colin Freem an, the
director of a local building firm.
c) D avid S tu art is in the ‘H ope and A nchor’ one evening, w hen a stranger
comes up to him and introduces herself as Stephanie Roberts, a singer with a local folk group.
d) Carol Anderson is at home w hen a m iddle-aged m an calls. H e is R obert
Cummings, the father of one of the girls in C arol’s class.
e) A m an comes into the ‘H ope and A nchor’ and sees G raham Williams, who
used to work with him in the same factory. H e goes over to G raham . His nam e is A lf W right.
f ) At an official reception at the British Embassy, you are introduced by an
acquaintance to D onald and N ancy Crom er, who are on a visit to your country.
2 F R E E P R A C T IC E
O B J E C T I V E
T o use language from P art O ne appropriately.
LE FIGARO
ffliincttner Mcrkrn
D I E O Z B I T
WOCHENZEITUNG FDR POLITIK• WIRTSCHAFT • HANDEL UND KULTUR
The situation
You are attending an international convention ofjournalists in London. A reception is being held to open the convention.
In small groups
a) Decide the nam e and country of the new spaper you work for (everybody in
the group works for the same newspaper).
b) Choose your positions on the newspaper, e.g. reporter, fashion editor,
financial expert, etc.
c) M ake sure you know the names and positions of all the other members of
your group.
MEETING
PEOPLE
P A R T T W O P E R S O N A L IN T E R E S T S a| Language presentation
1 I N T E R A C T IO N S 2 M O D E L C O N V E R S A T IO N ® ^At the ‘H ope and A nchor’ David S tuart is talking to a girl he has ju st met.
3 L A N G U A G E IT E M S
See C harts 10-13 on page 2 of the booklet in the back cover.
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B
Controlled practice
1 M A N I P U L A T I O N D R I L L ®
O B J E C T I V E
T o practise, at speed, the language from C harts 10-13, using good intonation.
M ake the following into sentences about p e r s o n a l i n t e r e s t s.
a) i take/m terest/politics? 2 actually/do
b) 1 interested/dancing? 2 well yes/certain extent
c) 1 do/happen/take/interest/pop music?
2 w ell/not particularly keen/actually
3 I tend/prefer listening/classical music
d) 1 are/jazz? 2 w ell/but/like pop better
e) 1 are/interested/playing tennis? 2 well/really, no
f ) 1 do/happen/m uch interest/the cinem a?
2 yes/do but/m ore interested/going/the theatre
2 C A S T C O N V E R S A T IO N S ®
o b j e c t i v e
T o select appropriate language.
Use appropriate language from C harts 10—13 in the following situations and be prepared to justify your answers. (W here necessary, refer back to T he Cast in the Introductory Section.)
a) 1 Susan Grey is reading a new spaper article about astrology.
She asks Carol Anderson about C arol’s interest in it.
Susan says______________________________________________________
2 Carol Anderson expresses slight interest.
Carol says______________________________________________________
b) 1 Susan Grey asks her editor about his interest in astrology.
Susan says_____________________________________________________
2 H er editor expresses interest, b u t shows a preference for palmistry.
H er editor says_________________________________________________
c) 1 N ancy Crom er asks one o f D onald’s colleagues about his interest in
opera.
N ancy says_______________________________________________ __ ___
2 D onald’s colleague expresses a slight interest in opera, but expresses a
preference for more m odern music.
D onald’s colleague says__________________________________________
d) 1 Susan Grey is interviewing a famous authoress and asks her about her
interest in politics.
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2 T he authoress expresses great interest.
T he authoress says __ ___________ _
Situational practice
1 I N T E R A C T I O N W R I T I N G
O B J E C T I V E
T o select and use appropriate language in given situations, w ithout reference to
the Charts.
In the following situations make short conversations, paying particular
attention to the use of appropriate language. (W here necessary, refer back to
T h e Cast in the Introductory Section.)
a) You m eet D onald Crom er for the first time at a conference. He asks you
about your interest in wildlife.
b) You meet D onald S tuart in the ‘H ope and A nchor’. You ask him about his
interest in In d ian music.
c) Susan Grey is asking her secretary about her interest in m odern fashion.
d) D onald C rom er’s boss is asking him about his interest in antiques.
2 P R A C T IC E S I T U A T I O N S
O B J E C T I V E
T o use appropriate language from P art Two fluently and w ithout reference to
the Charts.
M ake the following conversations. You ask the people below about their interests in the subjects given, and they answer. Pay particular attention to
attitude.
a) A friend V b) Someone you have ju st m et
detective stories modern architecture
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d) Someone you know slightly
sculpture
c) Y our boss
karate
e) A friend f ) Y our boss
folk music
g) A friend sailing
football
h) A colleague
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P A R T T H R E E L IK E S A N D D ISLIK E S
a
Language presentation
2. Oh yes, so do I, and I'm particularly interested in m odern dance..
v 4. Oh aren't you? V
I know some people don’t like it very much
but personally I find it fascinating. 3. Oh recti ly... I'm afraid it's not «,
som ething I know very much about. You s e e I’m not particularly keen on
th is a b stract ty p e of dancing *\ that's in fashion n o w a d a y s .^ !
2 M O D E L C O N V E R S A T IO N
D onald and N ancy Crom er are having dinner with M r Andrews, D onald’s boss, and Mrs Andrews.
tend to be rather keen on ballet myself..
C L
I k e
3 L A N G U A G E IT E M S
See Charts 14-19 on pages 3-4 of the booklet in the back cover.
b
Controlled practice
1 M A N IP U L A T IO N D R IL L S
O B J E C T I V E
T o practise, at speed, the language from Charts 14—19, using good intonation.
a. M ake the following sentences. E* ,a
a) I/rath er keen/going to horror films b) I/W esterns rath er boring
c) I/not/find w atching television very interesting
d) I/not/keen/w atching docum entaries
/MEETING
_____________________________ PEOPLE
e) personally/don’t/docum entaries very enjoyable
f ) 11 stand cowboy films
g) 1/not over keen/w atching violent films
h) I/stand people smoking in cinemas
i) I think docum entaries/far more interesting/musicals
b. Agree with the statem ents m ade in a. c. Disagree with the following statements.
a) I can ’t stand cowboy films
b) I tend to find rom antic films rath er silly
c) I really like w atching television
d) I ’m not very keen on w ar films
e) I ’m not over keen on docum entaries
f ) I really don’t like musicals
g) I ’m rath e r keen on horror films
h) I think cartoon filitis are great fun
2 C A S T C O N V E R S A T IO N S (K)
O B J E C T I V E
T o select appropriate language.
Use appropriate language from C harts 14-19 in the following situations and be prepared to justify your answers. (W here necessary, refer back to T he Cast in the Introductory Section.)
a) i G raham W illiams is talking to D avid Stuart. H e is saying th at he likes the ‘H ope and A nchor’.
G raham says____________________________________________________
2 David Stuart agrees.
D avid says______________________________________________________
b) i Carol Anderson is talking to the principal, who does not like m odern
teaching methods.
T he principal says________________ _ _ __________________________
2 Carol Anderson disagrees.
Carol says_______________________________________________________
c) i D onald C rom er is talking to one of his colleagues. H e is expressing his
dislike of m odern fashions.
D onald says ____________________________________________________ _
2 His colleague agrees.
His colleague says.
d) i Susan Grey is talking to one o f her colleagues. She is saying that she
likes ‘D ilem m a’, a program m e on television.
Susan says___________________________________________________
2 H er colleague disagrees.
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c I Situational transfer
1 I N T E R A C T I O N W R I T I N G
O B J E C T I V E
T o select and use appropriate language in given situations, w ithout reference to
the Charts.
In the following situations make short conversations paying p articular
attention to the use of appropriate language. (W here necessary, refer back to
T he Cast in the Introductory Section.)
a) G raham W illiams is discussing David S tu art’s singing with a friend. T he
friend does not like it, G raham does.
b) D onald Crom er and his son are talking about pop music.
c) You are discussing a recent film with Carol Anderson, who has also seen it.
d) You are talking to a friend about a book you have both read.
2 P R A C T IC E S I T U A T I O N S
O B J E C T I V E
T o use appropriate language from P art Two fluently and w ithout reference to
the Charts.
M ake the following conversations. You state your likes and dislikes to the people below about the subjects given, and they agree or disagree. Pay particular attention to attitude.
a) Someone you have only ju st met e) A colleague
pop music a recent film
b) Y our boss I ) Your boss’s wife
circuses musicals
c) An English friend g) A colleague
climbing modern educational methods
d) A friend h) A friend
holiday photographs learning languages
3 F R E E P R A C T IC E
O B J E C T I V E
T o use language from P art Three.
In small groups
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art 4 D IA L O G U E W R I T I N G sport food books O B J E C T I V ET o give you extra practice of the language in this Section in order to fix it in your memory.
W rite one of the following conversations in about 100 words.
a) Jo h n has m et Caroline for the first time. H e is very interested in pop music, and he likes playing tennis. She is not very keen on pop music, but she likes tennis. She is interested in films. T hey are discussing their
interests and their likes and dislikes.
b) R oger Courtney, a television interviewer, is asking the actress, Gloria
M uldoon, about her interests and likes on his evening television program m e.
c) A t a party Mike Jones, an architect, meets David Seele, an artist. T hey
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d
Role sim ulation
O B J E C T I V ET o use appropriate language from this Section in a realistic situation.
The Situation
T he Tyne A rt Gallery, in the N orth of England, is a public gallery run for the people of th at area and paid for by the government. In other words money for the gallery comes from the taxes th at ordinary people pay.
T he gallery at present has £70,000 to spend on a work, or works, for its m odern a rt section. Because the director o f the gallery, Cyril Forbes, is sensitive about public opinion, he has asked a num ber of people to come to a m eeting and to express their likes, dislikes and preferences for the five works of art from which the gallery will have to choose.
T he five works being considered by the gallery a r e :
Sheet by Carlos Begonyou. P ric e : £35,000.
This is simply a nylon sheet
purchased at a London superm arket.
Test Card by Charles Footley. Price: £42,000.
This is a 6ft high painting of a television colour test card.
Appetites by A lexandra Glassman. Price: £32,000.
This is a painting of a young girl eating an apple.
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Interior Landscape by Derek Carriage. Price: £49,000.
This is a sem i-naturalistic painting of a typical suburban sitting room.
Contrasts by Caroline Snow. Price £39,500.
This is a series of concentric circles.
At the m eeting c y r i l f o r b e s will ask all those present to express their likes,
dislikes and preferences for the various works. T he following people are present at the m eetin g :
c y r i l f o r b e s, the director of the gallery. H e will ask everyone w hat they
think of the works, and try to get everyone to agree.
m a r y p r o s s e r, the director o f the m odern art section. She likes all the works
except for ‘Sheet’, which she dislikes intensely. Nevertheless she m ust try at all times to be polite.
p a t r i c i a c u n t h o r p e, personnel officer of the gallery. She particularly likes
Caroline Snow’s work and dislikes all of the others, especially ‘A ppetite’. Nevertheless she will have to try to be fairly polite.
d a n p o p e, the director o f the town council’s departm ent. H e is very
traditional, and strongly against most m odern art. None of the works shown at the m eeting appeal to him at all, and he is strongly against any money being spent.
c a r o l p r e s t w i c k, the art critic on the ‘Evening Post’, the local paper. She
particularly likes ‘A ppetite’, but she thinks all the works have som ething to recom m end them. She especially dislikes D an Pope’s attitude to art.
r o g e r k a n e, the art critic from the national paper ‘T he Sunday S tar’. H e is
a great fan of Carlos Begonyou’s work, and also the artist’s friend. T he following members of the public like ‘Test C a rd ’ :
e l i z a b e t h c u t t s, a housewife T hey should be prepared to say why
p e t e r h u n t, a doctor they like the work, and w hat they
d e n i s e Cl i f f o r d, a dentist do not like about the others.
T he following mem bers of the public like ‘In terio r Landscape’ :
t o m c r e e d, a bookshop owner T hey should be prepared to say why
r a y a l l s o p, a butcher they like the work, and w hat they
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T he following m embers of the public have not yet m ade up their minds about the works, or indeed w hether they think the gallery should purchase any of th e m :
r u t h p o w e r, a secretary T hey should study the works and see
Go r d o n m o r g a n, a baker if they like any of them or if they
v i v i a n g o d d a r d, a teacher think it would be irresponsible of the
i v o r w a l s h, a bank employee gallery to spend its money in this way.
Extensive listening 1
O B J E C T I V E
T o understand authentic English and decide w hat the speakers’ attitudes are.
1 G E N E R A L C O M P R E H E N S IO N
(R)
a. R ead the following questions and then listen to Part One. W hen you have listened to P art O ne, answer the questions.
a) W hy can ’t Clare Thom as stay long?
b) W hat is Clare T hom as’jo b ?
c) W hat are Clare Thom as and her colleagues hoping?
d) WThy does Clare Thom as decide to have a beer ?
b. R ead the following questions and then listen to P art Two. W hen you have listened to P art Two, answer the questions.
a) W hen did David Giles start working in A drian Byfleet’s com pany?
b) W hat kind of films does D avid Giles usually work on?
c) How m uch longer does D avid Giles expect to be working on his
present film?
d) W hen did David Giles work in publishing, and w hat was his job?
c. R ead the following questions and then listen to Part Three. W hen you have listened to P art Three, answer the questions.
a) W hat drinks do M r and M rs Holly ask for?
b) W here have Clare Thom as and Mrs Holly m et before?
c) W hy is Clare Thom as learning French ?
d) W hat does Clare Thom as not like doing on holiday?
e) W hat kind of holiday atm osphere does A drian Byfleet prefer?
2 L A N G U A G E IN C O N T E X T
a. Listen to P art O ne again and decide w hat the following words or
phrases mean.
a) ‘. . . up to our eyes in it.’
b) ‘. . . who seems to be quite prom ising.’
c) ‘Pretty run of the m ill.’
d) ‘I could do with a beer.’
/MEETING
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b. Listen to Part Two again and decide w hat the following words or phrases mean.
a) ‘I t ’s boiling.’
b) ‘I ’m in publishing.’
c) ‘. . . a bestseller.’
d) ‘I d id n ’t really regard it as a perm anent thing anyw ay.’
c. Listen to P art T hree again and decide w hat the following words or phrases mean.
a) ‘. . . I ’ll stick to the beer.’
b) ‘W hat do you get out of it ?’
c) ‘. . . roughing it.’
3 R E A D IN G B E T W E E N T H E L IN E S ®
a. Listen to P art O ne again and say w hich o f the following statem ents are true and which are false. You should justify your answers by referring to w hat the speakers actually say.
a) A drian Byfleet is very pleased to see C lare Thomas.
b) A drian Byfleet is very formal w ith Clare Thomas.
c) A drian Byfleet enquires politely about C lare’s work.
d) A drian Byfleet is very interested to hear about the new book Clare is
working on.
b. Listen to P art Tw o again and say which of the following statem ents are true and which are false. You should justify your answers by referring to w hat the speakers actually say.
a) A drian Byfleet greets David Giles very enthusiastically.
b) Clare Thom as and David Giles sound rath er reserved when they start
talking together.
c) D avid Giles shares Clare T hom as’ enthusiasm for wild life films.
d) Clare Thom as is surprised th at D avid Giles did not enjoy working in
publishing.
c. Listen to Part T hree again and say which of the following statements are true and which are false. You should justify your answers by referring to w hat the speakers actually say.
a) A drian Byfleet is slightly em barrassed about being called ‘one of our
bright young m en’.
b) A drian Byfleet is very informal wrhen introducing Clare Thom as to M r
and M rs Holly.
c) M rs Holly is rath er formal w hen introducing Clare T hom as to M r Holly.
d) Clare Thom as expresses her dislike of cam ping quite strongly.
e) M r Holly expresses very strong preference for comfortable holidays.
f ) A drian Byfleet is rath er tentative when he expresses a preference for more
MOODS
>
1
ND FEELINGS
Intersoction A
I. Good morning, Charles.
2. Oh... Good morning,
- - Donald. ■„.,,.TT
3 . You look rather worried. 4. N o,notatall.
I was thinking about th e Jon es c a se actually. P A R T O N E M O O D S a
| Language presentation
1 C O M M E N T I N G O N S O M E O N E ’S A P P A R E N T M O O D / C O N F I R M I N G C O M M E N T S A B O U T Y O U R M O O D / C O N T R A D I C T I N G C O M M E N T S A B O U T Y O U R M O O D C O M M E N T I N Gv f ’re (not) looking . . . ( informal)
OU \ (don’t) look . . . (polite)
C O N F I R M I N G
I (don’t) fe e l. . . (polite)
I ’m afraid I . . . (polite)
I ’m (not) feeling . . . (inform al)
---1
C O N T R A D I C T I N G
No, not at a l l . . . ( polite)
No, I fe e l. . . (polite) ~ , f I feel 1 <» O n the contrary, ■< T, >•. . . r U m J fc (rather vrmal)
D onald Crom er next meets his boss, who looks serious.
D onald Crom er is at his office. O ne of his colleagues is clearly not well.
Good morning. George. You're looking at bit under th e weather!
1
2. I'm feeling pretty awful actually. !m afraid
/MOODS
yflND FEELINGS
I. H ello C a ro l...I h o p e ev ery th in g 's goin g w eil s-v in ^ ou r new f l a t , r '
2. Well a c tu a lly , som e, o f t h e pipes are . leak in g I'm afraid.
—' 6 . W hat m arvel lows new s.
2 A S K IN G A B O U T N E W S /R E A C T IN G T O BAD N E W S / R E A C T I N G T O G O O D N E W S
Carol A nderson’s principal meets her on the stairs.
if. H ow s your frien d D avid?
5- He's fin e w e ’re
thinking of g e t t in g > m arried .
A S K I N G A B O U T N E W S
I hope everything’s going well, (polite} How are things going? <direct>
_____________________ I___________________
B A D N E W S
O h dear, I am sorry to hear that. <[polite> O h ! How awful (very strong)
O h, w hat a (w eak: polite>
G O O D N E W S
W h at {m a™=U° u s l news! [excellent J
(slightly form at)
O h, I am pleased (to hear t h a t) !
( polite)
T h a t’s m arvellous! (strong: polite>
G re a t! <informal>
B
Controlled practice
1 M A N I P U L A T I O N D R I L L (R)
O B J E C T I V E
T o practise, a t speed, the language from the Charts, using good intonation.
M ake the following into sentences. * *
a) i Hello Jo h n , you/not look very well 2 I/n o t feel well/afraid I/a cold
/MOODS
/AND FEELINGS
c) i Hello M ary/hope every thing/well in your new job
2 O h yes, I really like the work. 3 O h/pleased/hear th at
d) 1 ^Hello Jane/things going?
2 T e rrib le ! I crashed my car this m orning! 3 O h /aw fu l!
2 F A D E D D IA L O G U E S
O B J E C T I V E
T o practise the language from P art O ne in situations.
Complete the following dialogues w ith language from the Charts.
E X A M P L E
X : ‘M y pet goldfish has ju st d ie d !’
Y: _________________________________________________________ X : M y pet goldfish has ju st died!
Y : Oh no! How awful!
Now do the same with the following:
a) X : Hello George, you don’t look too w ell!
Y : Y es___________ a bit under the w eather, actually.
b) X : _ _________ at work.
Y : Well no, actually, I ’m not getting on very well with the boss. X :
---c) X : H i F ra n k ________________ ?
Y : O h lousy! I ’ve ju st had a row with my father.
X : ______________________________________________________
d) X : O h J a n e ___________terrible! Y : ___________ , I ’m feeling fine.
e) X : __________ at school ?
Y : I ’ve just come first in the e x am ! X : __________________________ !
/MOODS
AND
FEELINGS
f I. HeJlo Miss Anderson. > I hear you're going to g e t
m arried.. Congratulations!
~~jr 2. Oh d e a r ...well it's Tp J not definite really—
nobody's supposed to Know.
P A R T T W O C O N G R A T U L A T I O N S , R E G R E T S ,
R E A C T I N G T O NEWS
a |
Language presentation
1 C O N G R A T U L A T IN G S O M E O N E
D onald C rom er meets Carol Anderson.
2 E X P R E S S IN G R E G R E T
Susan Grey is talking to a
colleague. 0 [SeS]
I. i sa w a really fantastic, programme about childcare S on television last night.
I hear . . . Congratulations, (polite)
C ongratulations }
(direct)
O h, w hat a pity! I ’d ’ve D O N E. . . if I ’d known.
O h n o ! I wish I ’d known I ’d ’ve D O N E
--- --->. . . . (strong)
{ 1. Terribly sad about )
^ ( > i a r | c s , isn't i t ? /
^ 2. Yes, it really is
3 T A L K IN G A B O U T BAD N E W S / T A L K IN G A B O U T G O O D
N E W S /E X P R E S S IN G R E L IE F D onald Crom er is talking to Nancy, his wife, about an old friend who has died in a car crash, ( f o i« - »i
/MOODS
AND
FEELINGS
B A D N E W S
Isn’t it sad* about X?
{T erribly } Sat^* a ^ out *s n t ^
(informal}
a g r e e i n g
Yes- i t , s { te ^ ib * e ,} isn’tit? Yes, it (really) is.
r e l i e f
I t ’s fortunate t h a t . . . ( slightly form at)
T h an k | ^ ea^ ens I _ , . (strong}
[goodness] *
W hat a good thing . . . ( informal}
I t ’s a good jo b . . . (very informal}
a g r e e i n g
Yes, quite.
Yes, P Sn t , } it? (informal}
[w asn t j J /
B
Controlled practice
1 M A N I P U L A T I O N D R IL LO B J E C T I V E
T o practise, at speed, the language from the Charts, using good intonation.
M ake the following into sentences.
a) i Isn’t/sad/John? 2 Y es/terrible/it?
b) 1 I/you’ve passed your driving test/ 2 C ongratulations/your driving test!
c) 1 T erribly sad/M ary failing her exam
2 Yes/is, but/good thing Ju lia passed 3 Yes/it?
d) 1 M ichael was here yesterday 2 O h/pity I/com e round if/known
e) /fortunate/D avid noticed th at policem an
f ) I w ish/known/the party I/loved i t !
2 F A D E D D IA L O G U E S
O B J E C T I V E
To practise the language from P art Two in situations.
Com plete the following dialogues w ith language from the Charts.
E X A M P L E
X : ___________your e x am !
Y : O h, it w asn’t very difficult really. X : Congratulations on pas sing your exam!
Y : Oh, it wasn’t very difficult really.
Now do the same with the following.
a) X : __________sad about G loria’s d o g !
Y: Yes________________________________________________
